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His CD reissue not only brings back the six songs from the LP of the same name, but adds "It Came Upon a Midnight Clear," a previously unreleased alternate take of "'Round Midnight" from the guitarist's earlier session with baritonist [i]Pepper Adams, and three 1988 unaccompanied guitar solos (a medley of "Lush Life" and "Daydream," "I'm Getting Sentimental Over You," and Charlie Parker's "Quasimodo"). The bulk of the set matches Leitch in 1985 with pianist Kirk Lightsey, bassist Ray Drummond, and drummer Marvin "Smitty" Smith. The CD as a whole finds the guitarist in prime form playing superior tunes including "My One and Only Love," Wayne Shorter's "Speak No Evil," Thelonious Monk's "Off Minor," and two of Leitch's own straight-ahead originals and is his definitive release. [/i]~ Scott Yanow, All Music Guide

*For all of you ppl that like jazz guitar but also listen to the master of Baritone....Mr. Pepper Adams and the rest of the crew.

This combination works quite well. The mellow-toned but hard swinging guitarist Peter Leitch teams up with baritonist Pepper Adams, pianist John Hicks, bassist Ray Drummond, and drummer Billy Hart for three Thelonious Monk tunes ("'Round Midnight," "Trinkle Tinkle," and "Played Twice"), two of the guitarist's originals, and "How Deep Is the Ocean." Adams' presence inspires and seems to light a fire under Leitch, who is heard throughout in passionate form. Recommended. ~ Scott Yanow, All Music Guide

A superb 1974 session recorded in Milan teams baritone-saxist Gerry Mulligan with the great guru of art-music tango. This is mostly dark and moody music, with a lot of tonal variety and a resolute refusal to fit into any of the handy pigeonholes: a one-off event, wholly successful. ~ John Storm Roberts, Original Music, All Music Guide

'Theme from Serpico' introduces the lovely main melody which goes through several variations in the course of the score, being at different times arranged for wind instruments, mandolin, violins, guitar and full symphony orchestra. 'Honest Cop' is an upbeat and vivid jazz piece performed by guitar, saxophone, trumpet (and muted trumpet), a rather active bass guitar and drums that create the sound and atmosphere a good and experienced jazz band might produce.The tracks that follow continue in the same easy listening musical style. In 'Shoe Shop' we get a nice rendition of the main theme by the flute, trumpet and piano. 'On the Streets' it's a faster, more upbeat and little strange variation of the main theme, with excellent bass guitar and drums work. The mood changes abruptly in 'Flashback', with lovely and sad melodies from the guitar, violin and wind instruments. In about 01.30 the music becomes intense and dark, the mood relaxing for a fabulous performance of the main theme by the mandolin towards the end of the cue.'Laurie's Fable' is another version of the main theme, scored for mandolin, guitar and wind instruments. 'Disillusion' is a dark, sad and slow piece followed by the real highlight of this album, 'End of Title' which starts in quite melancholic mood with the piano, violin and guitar and ends with a flawless and uplifting performance of the main theme by the mandolin and the full orchestra. Standout tracks are the main and closing titles, 'On the Streets' and 'Flashback', and some of them (especially those with the mandolin and guitar) remind us of the Captain Corelli's Mandolin original score by Stephen Warbeck released much later, in 2001.In Conclusion, this soundtrack consists of a strong and memorable main theme (and a secondary one, clearly heard in track.1 between the first and second performance of the main theme), some darker and sad moments but mostly pleasant easy listening and relaxing music that successfully combines jazz and a more classical style into a coherent whole that keeps the listener interested and satisfied. An excellent new package and fine sound quality. - by Demetris Christodoulides

Throughout this album Farmer and Golson shine. But there is a cohesive nature to this group; the rhythm section and the horns emerge as a single voice. The soloists exist within a constantly-maintained framework; they don't wander hopelessly or endlessly. There is discipline inherent in all that's played - a blend of direction and devotion so uncommon in jazz today. It is one of several qaulities that make the group one of the most compelling on the current scene. ~ Don Gold, From the original liner notes

John Abercrombie is an American jazz guitarist. Aside from his solo work he is known for his work with Billy Cobham, Jack DeJohnette, Michael Brecker and Randy Brecker. Abercrombie has recorded principally with the ECM label of Manfred Eicher. He also often explores the parameters of jazz fusion and post bop.

POWERHOUSE RECORDS PRESENTS DANNY GATTON LIVE IN 1977-"THE HUMBLER STAKES HIS CLAIM" Release date 7/10/07 Powerhouse Records is proud to present the latest release from our "Guitarchives" Series--"Danny Gatton Live In 1977-The Humbler Stakes His Claim". This release is comprised of newly discovered and previously unheard recordings made by Danny Gatton's sound engineer Chris Murphy throughout 1977 and 1978. What distinguishes these recordings from other live recordings is that these recordings were actually made with microphones placed in the audience, so there is a real feeling of being right there in the club with glasses clanking and audience responses, rather than the more sterile sound of a "board mix". The set list features some Gatton repetoire standbys such as "Harlem Nocturne" two very different versions (one which features a cameo by the late Dick Heintze on Hammond Organ), "Fingers On Fire", Nit Pickin'", "Canadian Sunset" and two scorching renditions of "Sweet Georgia Brown" as well as obscure songs like Cal Tjader's "Soul Sauce" and two Blues numbers: the slow blues "Danny's Blues" and the shuffle "Walkin' With Danny". A must for Gatton and guitar fans!!!!!!!

This set is a little different than most ECM releases, because the trio (guitarist John Abercrombie, organist Dan Wall and drummer Adam Nussbaum) performs a couple of fairly straight-ahead standards -- "You and the Night and the Music" and "Long Ago and Far Away" -- in addition to six originals, including Wall's rhythmic "Bo Diddy." Not sounding at all like a typical soul-jazz organ group, these musicians take more advanced improvisations, with Wall (whose accompaniment of Abercrombie is quite atmospheric) emerging as the top soloist. Scott Yanow, AMG

Freddie Hubbard brought a beautiful tone and an instinct for swing to Hub Cap. This record came out in 1961, three years before Eric Dolphy's Out To Lunch and four years before Herbie Hancock's Maiden Voyage: two significant titles in the library of America's improvised music which feature a consequential role by Hubbard. Freddie Hubbard leads a particularly talented sextet on this reissue. Four of the six compositions are Hubbard originals; two numbers were composed by Cedar Walton, and the marvelous "Cry Me Not" was penned by Randy Weston. The title track opens the disc, showing off Hubbard's flexibility and range in hard bop terrain. The pace shifts when the group leads into the modal ballad "Cry Not For Me," where Freddie Hubbard delivers some beautiful triplet lines in his solos. This number bears repeated listening. -- Allaboutjazz.com

REPOST! Freddie Hubbard - an American jazz trumpeter - was born today, 7 April 1938!

Rare vocal beauty is what Randy Crawford possesses along with loads of smoldering passion and deep emotional involvement with the meaning of any song this wonderous singer choses to do! This stunning collection is a great starting point for those beginning a musical journey with one the the greatest singers ever or for those of us already familiar with this classic artist who the more you play the more you fall in love! "Give Me The Night" is a soulfully dreamy opener that flows so beautifully into Randy's athem "Street Life" with The Jazz Crusaders featuring Joe Sample on keyboards which was a huge success for Miss Crawford. "Street Life" was also used in the soundtrack of the Burt Reynold's film "Sharky's Machine" along with great songs by Sarah Vaughan and Peggy Lee and Randy truly shines alongside these legends and makes one realize that this is indeed another legendary singer! "One Hello" is a gorgeous ballad that Randy turns inside out and sings with such passion that I get a rush every time but for those who need more convincing you will go no further than her extraordinary definitive performance of the John Lennon classic "Imagine" that gets a standing ovation everytime when Miss Crawford performs this in concert!! The beauty of this version is spellbinding as is Randy's smoldering vocal on "Who's Crying Now" which features a flowing jazzy arrangement with a soulful sax plus Joe Sample on keyboards! Standouts abound in this awesome collection and a true classic is what becomes of Bob Dylan's "Knockin' On Heavens Door" in Randy's hands. Soul infused vocal passion is stunning in this masterpiece with guest artists Eric Clapton and David Sanborn perfectly complimenting Miss Crawford who gives the performance of a lifetime and this should have received a Grammy Award!! For shame to the music industry for not really getting behind this incredible artist who is a once in a lifetime rare experience!!! Do not miss this collection or artist if you love great vocals and the closing self-penned "In My Life" is a revealing classic while "Everything Must Change" is another vocal masterpiece among the many in this priceless collection!! Bravo Randy!!! You are truly an awesome wonder.

The first popular jazz singer to move audiences with the intense, personal feeling of classic blues, Billie Holiday changed the art of American pop vocals forever. Almost fifty years after her death, it's difficult to believe that prior to her emergence, jazz and pop singers were tied to the Tin Pan Alley tradition and rarely personalized their songs; only blues singers like Bessie Smith and Ma Rainey actually gave the impression they had lived through what they were singing. Billie Holiday's highly stylized reading of this blues tradition revolutionized traditional pop, ripping the decades-long tradition of song plugging in two by refusing to compromise her artistry for either the song or the band. She made clear her debts to Bessie Smith. ~ John Bush , AMG

Canadian born Oscar Peterson is the greatest jazz pianist alive. (In time when this Dc was published. He died December 23, 2007). He was first trained by his father, an amateur musician. His second instructor was his sister Daisy, later a prominent piano teacher. Together with his sister, Oscar studied with Paul de Marky, a Hungarian concert pianist trained by a student of Franz Liszt. Peterson's classical education was extensive and its result is his masterful technique. While attending Montreal High School, he played in a band. The influences of classical music as well as of jazz greats like Teddy Wilson and Art Tatum, can be heard in his play. He was also a noted composer. Enjoy.

Bridging a generation gap of some 48 years, the ageless Stephane Grappelli took on the demanding project of a duo album with guitarist Martin Taylor, his American sideman who was then 25 years old. But it was no big deal, for Grappelli and Taylor had been jamming together casually before concerts in the green rooms for a long time, so these tracks probably just rolled right off their fingers into the tape machines, unedited. Grappelli is still in marvelous technical shape, playing in pretty much the same elegant Continental jazz fashion, and Taylor is a capable, tasteful player, with some unevenness in tone, on acoustic guitar. That said, this session admittedly reaches true ignition only in patches, for Taylor usually doesn't provide enough liftoff for Grappelli to fly. One high point is "Ol' Man River," which begins with a quote from "Dixie" by Taylor and finally begins to swing midway through, and the concluding take on Django Reinhardt's "Daphne" finds Grappelli recapturing much of his old swinging fervor. Each of them gets a solo spot — Grappelli the grandiose impressionistic piano solo "Je N'Sais Plus" and Taylor a so-so improvisation called "Manhattan Tea Party." As in the cases of many duo collaborations, the fact that these two gentlemen seem to be enjoying themselves immensely doesn't necessarily guarantee that the listener will take equal pleasure at all times.Richard S. Ginell, AMG

When Martin Taylor was a youthful prodigy of 23, he joined Stephane Grappelli's regular touring hand, the latest in a line of distinguished guitarists stretching back to Django Reinhardt. It was, as he puts it, "a very hot seat to sit in". It was also part of a lens and phenomenally varied apprenticeship, which has led to his becoming one of the finest players in the world by his mid-thirties. Stephane Grappelli had already reached the age of 71 when he first met Martin, but he was still growing too. In a most remarkable creative burst, beginning in about 1974, Grappelli's playing had taken on new ardour, and a kind of fearlessness which could be quite overwhelming in its effect. He thrived on new material and seemed to blossom in the company of musicians young enough to be his grandchildren. The rising curve of Stephane Grappelli's art and career at a time of life when most men have decided to quit is without parallel in jazz, but there is more to it than a mere matter of age. He has, in a sense, outgrown jazz itself, and this, regardless of the difference in their ages, is the main thing he has in common with Martin Taylor. They both play music which appeals far beyond the boundaries of the jazz audience - not because it is in any way softened or watered down, but because it speaks directly and its meaning is clear. No one with an ounce of musicality could ever say that they didn't understand it, and their virtuosity is so self-evident that they never need draw attention to it...

In 1969 violinist Stephane Grappelli and guitarist Barney Kessel teamed up for a few albums. This CD, in addition to five hot performances that originally came out on LP, has five previously unreleased performances from the same sessions. Throughout, the two principals (backed by rhythm guitarist Nini Rosso, bassist Michel Gaudry and drummer Jean-Louis Viale) are in top form, consistently inspiring each other. - Scott Yanow, AMG